The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1887-02-08
VERDI'S NEW OPERA OTELLO.
Its First Production in La Scala, Milan,
Before a Distinguished Company.
The Work Received with Raptures, but Not
Believed To Be Equal to the Best
Works of the Great Master.
Cable Special to N. Y. Herald.


By the special courtesy of NJ Francis Mag
cable to the Herald the following critique of
Verdi's 'Otello,' telegraphed from Milan after
the performance, at 2 this morning, to to-
days Figaro by NJ. August Vitu, the king OF
Partisan critics. M. Vitu is acknowledged to be
the ablest musical dramatic critic in France. II
not in Europe. and in the theatrical world his
words have the same weight as in Russia at
taches to ukase of the Gar
TEATRo DELLA SCALA, MILAN, Feb 5, 1881
"Otello." a lyric drama in four acts. taken from
Boito the music by Giuseppe Verdi, was pro-
duced tonight amid intense excitem ent AS
they drove to- the Scala thousands OF voices
shouted "Evviva Verdi! Evviva Boito!' mingled
Italiani!' ''Poveri Giovanni" "Orribile Mas
sacro di Saati!n "a has Depretis!' "a bas
Robant!" 'Evviva Italia" "Evviva Verdi
At $50 / entered the tbeater, which was re-
of Milan but Of Italy and Europe. The vast
auditorium of La Scala seems like fairy scene.
The six tiers of boxes reaching from 5he par,
quet to the gallery. with snow white and gold
decorations, glitter like huge gems beneath the
fire of electric lights. Every square inch is oc
cupied. The women are in overwhelming major
ity. The beauty of many OF them is more re.
splendent even than their diamonds. Scores OF
sians English, Germans, with here and there
charming ard graceful American. The standing
places in the parterre are transformed into
orchestra stalls, dazzling with red and gold, and
were disputed for at fabulous prices
While waiting for the curtain to rise give an
outline of the drama. The "Otello' of Boito be-
gins with the second act of the drama of Shak-
speare The curtain rises on beach at Cyprus
midst storm and naval battle between the
Venetian and Moslem fleets Iago barely con-
is
being drowned, and shouts, "Lalvo de! mar STA
la sua tomba" ('May the womb of the sea be his
grave'); but Otello safely lands amid shouts OF
"Evviva Otellc' From this instant the charac-
ter of Otelo is firmly outlined as the principal
motive power of the drama
The next scene is radiant with fireworks. and
Cyprus wine flows in fountains and is followed
by brindis sung by Iago. Cassie and Roderigo,
with chorus. Then comes the fight and Cas-
sios disgrace. and the act ends with a love duet
between Otello and Desdemona The second
act follows Shakespeare very closely. The fam
Gus monologue Of Iago-a sort of satanic creed
is very powerful. The handkerchief scene is
followed by Otello's murderous imprecations OF
"Sangue Sangue! Sangue!"
The third act begins with development,
rather tedious and puerile. or the preceding
scenes, and Blanca. Cassio's mistress, is left out
altogether by Boito. The scene of the deputa-
ton Of the Venetian republic congratulating
Otelo for his victory at Cyprus is we'll arranged.
At word from Desdemona, misinterpreted by
for the delegates, but in an instant he RECEIVERS
his presence of mind. only to lose it again when
Cassie is announced as his successor, and he
thinks he detects a smile Of joy in Desdemona's
countenance. He dashes her to the ground and
drags her about beneath his feet. The act ends
in very powerful scene. Otelo falling PROSTATE
with emotion. The crowd shout "Evviva Otello!
the lion of Venicew There is the lion," says
lagos hooking voice, pointing to the inanimate
body.
The fourth act opens in Desdemonas bed
chamber. Everything breaths of her approach
ing death. Desdemona utters her last prayer,
literally translated from Shakespeare. She
dresses, goes to bed and sleeps. Otello enters
and awakes her. only to kill her. Boito has
wisely adhered with religious exactitude to the
text Of Shakespeare in the supremely dramatic
strangulation scene. and Otello dies as he i'm
prints last kiss Desdomona's brow Such
the outlines of the drama as adapted by
Boito
quarter to the curtain rose with scarcely any
warning, not even aprelude to the first measures
of the storm, which was expressed by violins,
and alternately ascending and descending chro-
matte CANNES. The short chorus in sol which
follows, ''Vittoria Stermina," has eclat but
no originality. 1t was received codly Thenext
chorus, Fuoco d gioia, has great deal of viyac
ity, but its leading phrases recall the theme OF
the briudisi in "Lucrezia Borgia' In spite of
its labored beginning its conclusion with its
picturesque diminuendo was received with shouts
of applause and shouts of Evviva Verdi. Evviva
Maurel!
| Maurel, who was in magnificent voice. scored
a brilliant success by his Iago. 1t is his most
artistic creation, and when he sang his brindisi
| he was loudly cheered. Tomagno 1tays most
| famous tenor, was also in superb voice. To-
| gether with Sgnora Pantaion he sang with
| artistic precision, the grand love duo between
| Otello and Desdemona, but this passage, upon
which so much counted, was uninterrupted by
a single mark of applause. But, as the curtain
fell on the first act, Verdi was called for: With
| perfect furia of cheers, he stepped briskly to
| the footlights very pale but with pleasant
| smile. He was escorted by Tomagno. Maurel,
| Signora Pantalioni and all the artists. Verdi,
who was also ACCOMPANIED by magnificent
| footman In purple and gold livery, holding a
| huge gilt basket full of kilograms, cards, letters
| and congratulations bowed his acknowledge
ments pressing his hand to his heart.
The second act was more successful, and an
other brilliant success for Maurel as he sung the
/ famous monolougue incarnating the doctrines OF
| Nihilists and the formul@ Of Schopenhauer.
| This passage is accompanied by tremendous
| bursts of brazen instruments that transform
| lago into a sort OF gigantic Bertram The cho-
| rus in the garden in this act is charming, and
| the sweet voices of children, offering in mi
| majeur lilies to Desdemona. completely fascin-
| ated the audience. An atmosphere OF freshness
| and innocence seemed to permeate the house
| after the Internal mologue of Iago and the sa-
| tanic dialogue, detained rather than sung, be-
tween Otello and 1ago. The ouatuor sung by
OtelI0, DeSdemona, Iago ana Emilia reminded
me of quatuor in ''Rigoletto." The largo in In 81
bemol OF Desdemona. trying to calm her furious
husband is of very great beauty. Here Maurel
scored tremendous applause as he snatched the
fatal handkerchief from Emilia's hands. During
the peroration of the duo between Otello and
Iago the distant voice kept rising in my breast
| of ''Il milo cor 81 divide" Rossini's meodious
| phrase is more heartrending in it's general sim
plicity than Worlds most tumultuous outbursts.
Tomaeno and Maurel were loudly called for al
the end of the second act, and La Scala re-
sounded with shouts OF admiration as they came
to the footlights. They were recalled second
time, when they came forward each holding
one of Verdis hands aud dragging the master
apparently reluctant to advance.
The universal verdict of the audience seemed
to be that the grand finale in LA Bemol" thai
ends the second act is the most touching pas
sage which Verdi ever composed. The third